Marie Watt


Book Description

Marie Watt is an American artist who lives and works in Brooklyn, New York, and Portland, Oregon. Born in 1967 to the son of Wyoming ranchers and a daughter of the Turtle Clan of the Seneca Nation (Haudenosaunee), she identifies herself as "half cowboy and half Indian." Formally, her work draws from Indigenous design principles, oral tradition, personal experience, and western art history. Her approach to art-making is shaped by the proto-feminism of Haudenosaunee matrilineal custom, political work by Native artists in the '60s, a discourse on multiculturalism, Abstract Expressionism, and Pop Art, as well as a strong belief in interaction with her audience. Like Jasper Johns, she is interested in "things that the mind already knows." Unlike the Pop artists, she uses a vocabulary of natural materials (stone, corn husks, wool, cedar) and forms (blankets, pillows, bridges) that are universal to human experience and noncommercial in character. Marie Watt: Lodge offers the first comprehensive view of her work, covering a period extending from the mid-1990s to the present.




Knowing Native Arts


Book Description

Knowing Native Arts brings Nancy Marie Mithlo’s Native insider perspective to understanding the significance of Indigenous arts in national and global milieus. These musings, written from the perspective of a senior academic and curator traversing a dynamic and at turns fraught era of Native self-determination, are a critical appraisal of a system that is often broken for Native peoples seeking equity in the arts. Mithlo addresses crucial issues, such as the professionalization of Native arts scholarship, disparities in philanthropy and training, ethnic fraud, and the receptive scope of Native arts in new global and digital realms. This contribution to the field of fine arts broadens the scope of discussions and offers insights that are often excluded from contemporary appraisals.




No Reservations


Book Description

This collection of work by both Native and non-Native artists speaks of the complexity of Native American historical and cultural influences in contemporary culture. Rather than focusing on artists who attempt to maintain strict cultural practices, it brings together a group of artists who engage the larger contemporary art world and are not afraid to step beyond the bounds of tradition. Focusing on a group of 10 artists who came of age since the initial Native Rights movement of the 1960s and 70s, the book emphasizes art that does not so much "look Indian," but incorporates Native content in surprising and innovative ways that defy easy categorization. The Native artists featured here focus on the evolution of cultural traditions. The non-Native artists focus primarily on the history of European colonization in America. Artists include Matthew Buckingham, Lewis deSoto, Peter Edlund, Nicholas Galanin, Jeffrey Gibson, Rigo 23, Duane Slick, Marie Watt, Edie Winograde and Yoram Wolberger.




Art for a New Understanding


Book Description

Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.




"Our Indian Princess"


Book Description

In this path breaking study, anthropologist Nancy Marie Mithlo examines the power of stereotypes, the utility of pan-Indianism, the significance of realist ideologies, and the employment of alterity in Native American arts.




Stranger Care


Book Description

NEW YORK TIMES EDITORS’ CHOICE • “A powerful, heartbreaking, necessary masterpiece.”—Cheryl Strayed, #1 New York Times bestselling author of Wild The moving story of what one woman learned from fostering a newborn—about injustice, about making mistakes, about how to better love and protect people beyond our immediate kin May you always feel at home. After their decision not to have a biological child, Sarah Sentilles and her husband, Eric, decide to adopt via the foster care system. Despite knowing that the system’s goal is the child’s reunification with the birth family, Sarah opens their home to a flurry of social workers who question them, evaluate them, and ultimately prepare them to welcome a child into their lives—even if it means most likely having to give the child back. After years of starts and stops, and endless navigation of the complexities and injustices of the foster care system, a phone call finally comes: a three-day-old baby girl named Coco, in immediate need of a foster family. Sarah and Eric bring this newborn stranger home. “You were never ours,” Sarah tells Coco, “yet we belong to each other.” A love letter to Coco and to the countless children like her, Stranger Care chronicles Sarah’s discovery of what it means to mother—in this case, not just a vulnerable infant but the birth mother who loves her, too. Ultimately, Coco’s story reminds us that we depend on family, and that family can take different forms. With prose that Nick Flynn has called “fearless, stirring, rhythmic,” Sentilles lays bare an intimate, powerful story with universal concerns: How can we care for and protect one another? How do we ensure a more hopeful future for life on this planet? And if we’re all related—tree, bird, star, person—how might we better live?




If You Remember, I'll Remember


Book Description

The exhibition If You Remember, I'll Remember (2017) at The Block Museum of Art, Northwestern University was an invitation to reflect upon the connection between the past and present through works of art. By engaging with topics such as the internment of Japanese Americans during World War II, Native American sovereignty, and African American struggles for civil rights, the exhibition offered an integrated view of the American past through the juxtaposition of histories that resonate with pressing contemporary social concerns. Exploring themes of love, mourning, war, relocation, and resistance in nineteenth- and twentieth-century America, it brought together the work of seven contemporary artists whose practices are based in archival research and incorporate historic documents and objects: Kristine Aono (b. 1960), Shan Goshorn (b. 1957), Samantha Hill (b. 1974), McCallum & Tarry (active 1998-2013), Dario Robleto (b. 1972), and Marie Watt (b. 1967). This richly illustrated publication serves as a record of the exhibition, its related programs, and its in-depth engagement projects - from sewing circles focused on the theme of equity to conversations with internment camp survivors - developed through discussion and collaboration with artists and campus and community partners. The retrospective nature of the publication allows for the inclusion of participants' voices, and reflection upon the broader process of museums working closely with multiple stakeholders. This approach contributes a valuable case study to current methodological conversations about collaborations between artists, museums, and communities.




Hélio Oiticica


Book Description

"This catalogue accompanies the first full US retrospective of the Brazilian artist Hélio Oiticica (1937-1980) in over two decades, organized by the Carnegie Museum of Art. It explores Oiticica's most acclaimed works, such as the "Parangolés" and the installation "Tropicália," as well as his involvement with music, literature, and response to Brazilian politics and the social environment. Essays by US and Latin American writers cover the entirety of his career, from his immersion in the 1960s counterculture to his life and work in New York City and final return to Rio de Janeiro, with special emphasis on his New York period between 1971 and 1978"--




Crow's Shadow Institute of the Arts at 25


Book Description

"Organized by the Hallie Ford Museum of Art in partnership with the Crow’s Shadow Institute of the Arts (CSIA), the exhibition chronicles the history of Crow’s Shadow over the past 25 years as it has emerged as an important printmaking atelier located on the Confederated Tribes of the Umatilla Indian Reservation near Pendleton, Oregon.The exhibition features 74 prints drawn from the Crow’s Shadow Print Archive and focuses on themes of landscape, abstraction, portraiture, word and images, and media and process. Included in the exhibition are works by 50 Native and non-Native artists who have worked at CSIA, including Rick Bartow, Pat Boas, Joe Feddersen, Edgar Heap of Birds, James Lavadour, Truman Lowe, Lillian Pitt, Wendy Red Star, Storm Tharp, and Marie Watt, among others."--




Hearts of Our People


Book Description

"Women have long been the creative force behind Native American art, yet their individual contributions have been largely unrecognized, instead treated as anonymous representations of entire cultures. 'Hearts of Our People: Native Women Artists' explores the artistic achievements of Native women and establishes their rightful place in the art world. This lavishly illustrated book, a companion to the landmark exhibition, includes works of art from antiquity to the present, made in a variety of media from textiles and beadwork to video and digital arts. It showcases more than 115 artists from the United States and Canada, spanning over one thousand years, to reveal the ingenuity and innovation fthat have always been foundational to the art of Native women."--Page 4 of cover.